Starring: Stacy Valentine, Raylene, Jeanna Fine, Rebecca Lord, Mustang Sally Layd, Alec Metro, John Decker, Tony Tedeschi, Billy Glide, Dave Hardman, Brian Surewood, Simon Delo, and Veronica Hart Directed by: Antonio Passolini In the spirit of Antonio Passolini's absurd take on post apocalyptic fucking, let me begin this review of Cafe Flesh 2 with a haiku: Stacy Valentine, Man with two dildos for horns... Freaked out, but turned on. Now, don't go expecting haiku in this VCA release; there are none to be found. And if there were any, they'd be better than mine, to be sure. What you will find, on the other hand, is a brain in a jar, a hot 70's era virgin sucking dick, a man who gets sick at the thought of sex with Raylene, two fucking mimes, and of course, Stacy Valentine and a man with two dildos for horns. Director Antonio Passolini is a lot like David Lynch on viagra, but this is not weirdness for weirdness' sake. In fact, this is the whacked- out sequel to someone else's whacked-out original- -Rinse Dream's Cafe Flesh.

Antonio Passolini crafted a vibrant, intricate film complete with extremely erotic sex shows. Every detail from the deep throaty voice of the narrator to the neon wigs to the way a cigarette is smoked adds to the visual masterpiece that is Café Flesh 2. This post-apocalyptic tale looks like a Warhol lithograph escaping into a fantastical wasteland. The sex shows on the stage at Café Flesh are smoothly built into the plot, amplifying the otherworldliness of the movie.The story takes place after World War III where society is divided into positives and negatives (actually positives are a rarity.) The negatives are destined to a life without carnal pleasures. Sex makes them physically ill. So Jeanna Fine, the charismatic Violet Chinchilla, tries to resurrect a club where positives used to hold sex shows for the negatives. Only problem is she needs to find some positives. Many flashbacks to the original Café Flesh (the original club not the original movie) are interspersed with Violets endeavor.The first scene with Rebecca Lord encapsulates the films brilliance.